Christian McBride - Christian McBride’s New Jawn

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 57:49
Size: 133,8 MB
Art: Front

(2:49)  1. Walkin' Funny
(9:55)  2. Ke-Kelli Sketch
(5:34)  3. Ballad of Ernie Washington
(5:00)  4. The Middle Man
(7:44)  5. Pier One Import
(5:35)  6. Kush
(7:21)  7. Seek The Source
(5:19)  8. John Day
(8:30)  9. Sightseeing

Christian McBride was looking for a new musical challenge. So he decided to form a band that would play without the use of chords. The bassist explains, "Every major group I've been a part of for the last ten years, whether it's been with Pat Metheny or Chick Corea, or my own projects, there's been nothing but chords. So, I wanted to see what happens if I just pull the chords out altogether."  The result is Christian McBride's New Jawn. The name derives from the black Philadelphian slang term jawn meaning "thing," as in "do your thing." The band comprises McBride, trumpeter Josh Evans, saxophonist Marcus Strickland, and drummer Nasheet Waits. McBride says he chose the name New Jawn because the band's members "had grit under their fingernails" and he wanted a name that wasn't "buttoned up" like Quartet. The band's only (golden) rule: no chords. McBride's other recent bands have included: Inside Straight, featuring alto/soprano saxophonist Steve Wilson; a trio featuring the phenomenal young pianist Christian Sands; an 18-piece big band; and the experimental group A Christian McBride Situation with pianist Patrice Rushen, saxophonist Ron Blake and vocalist Alyson Williams. No doubt about it, McBride's almost as hard-working as was the the late James Brown. 

He has also played as a sideman on around 300 albums and is artistic director of the Newport Jazz Festival, having succeeded founder George Wein in that role in 2016. The New Jawn kick off with McBride's "Walkin' Funny," the staggering rhythm and stuttering of the horns implying a drunken, unsteady gait. Next up: "Ke-Kelli Sketch," a portrait of drummer Nasheet Waits' wife that Waits describes as "an aural Picasso." McBride is to the fore with Waits right up there with him, then Evans and Strickland take over and it all becomes a tad formless, perhaps a flaw of the no chords approach (or maybe they just wanted it that way). "The Ballad of Ernie Washington" is named for the pseudonym Thelonious Monk used when his cabaret card was revoked in the mid-1950s. The number is so respectful Monk might not have approved but it's one of the standout tracks, along with "The Middleman" and "Pier One Import."  The proceedings conclude with Wayne Shorter's fast-paced "Sightseeing." Strickland plays an interesting, freewheeling solo with McBride working hard in behind him. Evans takes over, then leaves McBride to get on with it, which he does in his usual no-frills, muscular but intelligent fashion. ~ Chris Mosey https://www.allaboutjazz.com/christian-mcbrides-new-jawn-christian-mcbride-mack-avenue-records-review-by-chris-mosey.php

Personnel: Christian McBride: bass;  Marcus Strickland: saxophone;  Josh Evans: trumpet;  Nasheet Waits: drums.

Christian McBride’s New Jawn

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Dave Liebman - In A Mellow Tone

Styles: Saxophone And Flute Jazz
Year: 2004
File: MP3@320K/s
Time: 53:10
Size: 122,9 MB
Art: Front

(4:34)  1. In A Mellow Tone
(6:09)  2. Child At Play
(6:40)  3. Chance Of Rain
(3:52)  4. The Sun King
(6:49)  5. Chant
(3:13)  6. My Heart Will Go On
(7:19)  7. Romulan Ale
(2:46)  8. Wow
(3:54)  9. Change Up
(7:49) 10. Vamp To Life

Don't let the title of Dave Liebman's latest disc, In a Mellow Tone, fool you. While the ambience is generally more relaxed than his usual fare, this is no easy-going collection of standards; instead what we have is an album that, for all its mellifluous aspirations, has a subtle intensity, and a certain feeling that all is not what it seems. Leading off with a radically reharmonized version of the Ellington classic, "In a Mellow Tone," Liebman sets the tone for the whole album. While the recognizable theme is there, the underlying feel is one of brooding darkness. With bassist Tony Marino and drummer Jamey Haddad eschewing the more expected ambling lope, instead lightly implying a certain sense of peril, Liebman's arrangement may be accessible, but it is hardly easy listening. Liebman's playing is less aggressive than usual, but his expressionist leanings remain intact. Guitarist Vic Juris continues to surprise and enlighten. With a style that sits, for the most part, somewhere between the melodious sound of Pat Metheny and the more oblique lyricism of John Abercrombie, he demonstrates a musical breadth of which few guitarists are capable. From the impressionistic self-penned "Chance of Rain," which is so visual one can see the clouds rolling in and hear the distant thunder, to Liebman's "The Sun King," originally written in the '70s when he was playing with Indian percussionist Badal Roy, Juris demonstrates a knowledge of everything from post bop harmonies to Indian raga form. 

Liebman even manages to take the soporific melodrama of James Horner's "My Heart Will Go On," from the Titanic movie soundtrack, and turn it into a rubato tone poem that is poignant and pensive. "Change Up" is a free piece that features rich interplay between Liebman's soprano saxophone and Marino's bowed bass, before leading into a classical guitar solo by Juris that continues to demonstrate his broad stylistic abilities. Sadly this is the final recording of the current version of Liebman's group that began in '91, following the dissolution of his more outgoing post-Coltrane band, Quest. Liebman states in the liner notes that a long-standing band "both artistically and from the listener's standpoint is consistently at a higher level than in temporary formations." With the effortless way in which the quartet navigates the material on In a Mellow Tone, Liebman's assumption is clearly supported. What will come next is anybody's guess, but In a Mellow Tone is a fitting swan song for a group; easy on the ears without losing its sense of adventure, and the culmination of a lot of obviously joyful hours spent playing together. ~ John Kelman https://www.allaboutjazz.com/in-a-mellow-tone-dave-liebman-zoho-music-review-by-john-kelman.php

Personnel: Dave Liebman (soprano and tenor saxophones, wooden flute), Vic Juris (acoustic and electric guitar, guitar synthesizer), Tony Marino (acoustic and stik bass), Jamey Haddad (drums, percussion)

In A Mellow Tone

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Nicole Herzog, Stewy Von Wattenwyl Group - I Loves You Billie

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 55:55
Size: 129,1 MB
Art: Front

(5:17)  1. Summertime
(4:57)  2. Lover Man
(4:57)  3. It Ain't Necessarily So
(5:58)  4. Night and Day
(5:37)  5. Domino
(6:17)  6. Give Him the Ooh-La-La
(4:27)  7. I Loves You Porgy
(4:39)  8. Nice Work If You Can Get It
(5:04)  9. God Bless the Child
(5:30) 10. Love for Sale
(3:09) 11. Send in the Clowns

Nicole Herzog, daugther of a Congolese mother and a Swiss father. At the age of 4 Nicole started taking lessons in classical ballet, and until her 16th birthday she pursued her dream of becoming a professional dancer. Singing and playing the piano had been just two more hobbies for a long years. Her passion for solo singing sparked when she participated in a musical organized by her high school. She kept singing in regional pop, soul, R'n'B and funk bands. Because of a rising interest in Jazz, she applied for the International Jazzfestival Generations 2004, where she participated in workshops held by Adrian Mears, Ira Coleman, Lewis Nash, Dick Oatts and others. At Generations 2004 Nicole was awarded a place in the fellowship band, with which she toured in Germany (Jazzclub Unterfahrt München) and Switzerland under supervision of Roman Schwaller and Adrian Mears. Subsequently Nicole devoted herself to her studies in International Relations, which she concluded with a bachelor at the University of Geneva. The studies did not keep her from making music. In Adrian Mears she found a composer, arranger and musician who was able to write challenging and varied compositions and arrangements suiting Nicole's voice. The result of this collaboration can be be found on the CD "Time Will Tell – Nicole Herzog Septet feat. Adrian Mears", which was published under the TCB Montreux Jazz Label in September 2008. Nicole completed her Master in European Studies from the University of Basel in December 2011. In 2012 Nicole founded together with the Bernese pianist Stewy von Wattenwyl the "Nicole Herzog & Stewy von Wattenwyl Group" and published an album “INTIMACY" (Brambus Records Label). This collaboration was a big succes. Together, Nicole and Stewy, won the Radio Swiss  Jazz Award 2014. In autumn 2015 Nicole and Stewy recorded their second album together, "I LOVES YOU BILLIE", which was published mid-march 2016. In mai 2016 Nicole got the opportunity to make a recording with the legendary US-tenorsaxophonist Don Menza. The album "THAT'S LIFE" (Label Musiques Suisses) is going to be released in autumn 2016. Nicole lives with her little family in Copenhagen and regularly performs in Switzerland, South Germany, Austria, France and China. https://www.nicoleherzog.com/en/portrait/

I Loves You Billie

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Chet Baker - I Remeber You

Styles: Trumpet Jazz
Year: 1985
File: MP3@320K/s
Time: 60:23
Size: 138,9 MB
Art: Front

(14:40)  1. But Not For Me
(11:57)  2. Broken Wing
(10:14)  3. Nardis
(12:36)  4. You Go To My Head
(10:54)  5. Just Friends

Recorded live at the Cafe Montmartre in Copenhagen in 1985, this is the second in a series of posthumously released Chet Baker concerts on Enja Records. Performing with a quartet, Baker nails another electrifying concert appearance. With the set's lengthy opening tune "But Not For Me," Baker establishes the musical tone for the rest of the evening an amazing blend of solid rhythm against Baker's free sense of space and lyricism. Baker sings in his trademark style of scattered, whispery phrases and he even plays some piano in a single-note style that reflects his approach to trumpeting. His mature trumpet work is clear, emotionally charged, natural, and personal, and his lines are often unpredictable. The set also includes a haunting and strangely sad "You Go To My Head," which features Baker's hushed, seductive vocals. This recording was never intended for commercial release, so the sound quality is not perfect and there is some audience noise, but it never gets in the way of enjoying this wonderful evening of Chet Baker at the top of his form. https://www.allmusic.com/album/i-remember-you-the-legacy-vol-2-mw0000592803

Personnel:  Jesper Lundgaard (double bass), Aage Tanggaard (drums), Doug Raney (guitar), Chet Baker (trumpet), Chet Baker (piano)

I Remeber You

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Jeff Hamilton - Down & Under

Styles: Vocal And Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 31:03
Size: 72,3 MB
Art: Front

(3:39)  1. My Proposal
(2:59)  2. Brianna's Song
(3:31)  3. Diamonds
(2:18)  4. Loser
(1:50)  5. Ninjas & Pirates
(3:44)  6. Lashes
(3:04)  7. Down & Under
(3:15)  8. Jaxson's Song
(3:41)  9. Angel
(2:58) 10. Salvation Train

A reliable and versatile drummer who sounds equally at home with a big band or combo, Jeff Hamilton has a strong reputation in the jazz world. He attended Indiana University, in 1974 was with the Tommy Dorsey ghost band, played briefly with Lionel Hampton, and then spent two years as a member of Monty Alexander's Trio (1975-1977). Hamilton was with Woody Herman's Orchestra (1977-1978), became a member of the L.A. Four (with whom he made six records), and started recording regularly as a sideman for Concord. As a leader, he made his debut with 1982's Indiana on Concord, featuring tenorman Bob Cooper and altoist Lanny Morgan, pianist Biff Hannon, bassist John Clayton, and guest vocalist Mark Murphy. Between 1983 and 1987, he performed with Ella Fitzgerald, the Count Basie Orchestra, Rosemary Clooney, and Monty Alexander. In the '90s, Hamilton toured the world with Oscar Peterson and the Ray Brown trio, gigged with the Clayton Brothers' quartet, and was a co-leader (with John and Jeff Clayton) of the Clayton-Hamilton Orchestra. Jeff Hamilton has also occasionally led his own trio, recording for Lake Street and Mons, delivering such albums as 1994's It's Hamilton Time!, and 1997's Dynavibes. More solo outings followed including 2002's Hand's On, 2004's The Best Things Happen, and 2009's Symbiosis, with pianist Tamir Hendelman and bassist Christoph Luty. Also during this period, he remained a busy session player, racking up credits with such luminaries as Diana Krall, Michael Bublé, and Barbra Streisand, among others. In 2012, he returned to his solo trio work with Red Sparkle, which once again featured pianist Hendelman and bassist Luty. The following year, he joined pianist Paul Kuhn and longtime associate drummer Jeff Clayton for The L.A. Session. In 2017, Hamilton augmented his trio with tenor saxophonist Cory Weeds for the urbane Dreamsville. ~ Scott Yanow https://www.allmusic.com/artist/jeff-hamilton-mn0000186892/biography

Personnel:  Jeff Hamilton - Lead Vocals, Electric Guitar, Acoustic Guitar; Mitchell Maldonado - Drums, Bass, Keys, Vocals; Stephanie Maldonado - Vocals; Josh Anderson - Banjo

Down & Under

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Chano Dominguez, Javier Colina - Chano & Colina

Styles: Piano Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 72:16
Size: 165,8 MB
Art: Front

( 5:18)  1. Luces de la fragua
( 5:57)  2. You the Night and the Music
(11:20)  3. Habanera de la Habanera
( 8:22)  4. My One and Only Love
( 5:49)  5. Para Chick
( 9:08)  6. We Will Meet Again
( 5:45)  7. You Must Believe In Spring
( 6:47)  8. Canción de Amor
( 8:39)  9. Ziryab
( 5:06) 10. Serpent's Tooth

Chano Domínguez is from Cádiz, Spain, the birthplace (according to legend) of flamenco. His discography is mostly on Spanish labels. He released two records on Blue Note in 2010 and 2012 (Piano Ibérico and Flamenco Sketches), but they are atypical and already rarities. Over the Rainbow came out last year on Sunnyside; now there’s Chano & Colina too. For those new to Domínguez, the two Sunnyside titles are where to start, and they will be revelations. His unique piano language organically fuses two sensibilities: the rhythms and harmonies of flamenco and the improvisatory spirit of jazz. The first Sunnyside album was a solo concert. Chano & Colina, also recorded live in Spain, adds bassist Javier Colina. “Ziryab,” by Paco de Lucía, is unleashed excitement, an ornate spontaneous jazz design overtaken by the climactic flourishes of flamenco. Even more striking are the North American standards. “You and the Night and the Music” has been waiting 80 years for Domínguez to inject all those extra flamenco beats into its straight 4/4. A song about being “filled with flaming desire” has never been set on fire like this. Domínguez’s rhythmic sophistication and intensity do amazing things to ballads. “My One and Only Love” becomes a spring-loaded flamenco waltz, an assertive new concept of tenderness. It’s initially surprising that he chooses two songs associated with Bill Evans, but on them he proves that he’s more than a master of metrical manipulation; he generates energy in the service of lyricism. “We Will Meet Again” has a new lift, which makes it more, not less, poignant. (Its emotion is deepened by one of Colina’s many dramatic solos.) “You Must Believe in Spring” is transformed by the creative force that sets it into throbbing motion. Michel Legrand’s fragile avowal of faith has rarely sounded so sensual. https://jazztimes.com/reviews/albums/javier-colina-chano-dominguez-chano-colina/

Personnel:  Javier Colina (bass); Chano Dominguez (piano)

Chano & Colina

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Jack Jezzro - Bossa Nova Romance: One Hour Of Romantic Bossa Nova Music

Styles: Brazilian Jazz 
Year: 2013
File: MP3@320K/s
Time: 60:26
Size: 140,0 MB
Art: Front

(4:26)  1. Wave - feat. Jack Jezzro
(4:59)  2. Corcovado - Instrumental Version
(3:40)  3. Blue Bossa - feat. Leif Shires
(3:43)  4. Once I Loved (O Amor En Paz)
(4:13)  5. The Girl From Ipanema
(5:01)  6. Miranda
(3:58)  7. How Insensitive - feat. Denis Solee
(5:43)  8. Paqueta, Isle Of Love
(3:46)  9. Senza Fine
(4:26) 10. Moonlight In Brazil
(4:57) 11. Dindi
(3:54) 12. And I Love Her
(3:32) 13. Nature Boy - What A Wonderful World Album Version
(4:01) 14. You And The Night And The Music - feat. Jack Jezzro

Bossa Nova Romance is a fine sampling of the artists on the Green Hill Records roster. These 14 tracks include cover versions of "The Girl from Ipanema," "You and the Night and the Music," "Nature Boy," "And I Love Her," "Corcovado," and "Blue Bossa." Recommended to listeners who enjoy mellow background music at a budget price. ~ Al Campbell https://www.allmusic.com/album/bossa-nova-romance-mw0002472199

Bossa Nova Romance: One Hour Of Romantic Bossa Nova Music

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Allegra Levy - Cities Between Us

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 63:42
Size: 147,6 MB
Art: Front

(6:38)  1. Cherry Blossom Song
(5:13)  2. Lullaby of the Orient
(5:24)  3. I Shouldn't Tell You
(4:12)  4. Misery Makes the Music
(5:07)  5. Yesterdays
(5:14)  6. Dear Friend
(5:28)  7. Sleepwalk with Me (In Sek Tong Tsui)
(4:37)  8. Soy Califa
(8:40)  9. Leaving Today
(6:18) 10. Down Sunday
(6:45) 11. Cities Between Us

He continues to move in the wake of tradition including Peggy Lee and Chris Connor the young New York singer and author, a graduate of the New England Conservatory. After the debut of 2014 (Lonely City, SteepleChase) in this second album Allegra changes its organic and expressive climate. The new partners include Kirk Knuffke at the cornet, Jay Anderson on the double bass and Billy Drummond on drums, while the general atmosphere is no longer intimist and melancholic but rhythmically relaxed and full of groove. In this regard Neil Tesser, who wrote the cover notes, notes that the subtitle of the album could be The Lighter Side of Allegra Levy. All the vocal talents expressed in the debut are confirmed: elegant timbral flare, interpretations that alternate lightness and emotional intensity, highlighting flexibility of register, colloquial warmth and good interpretative taste. In the debut album, Allegra also distinguished herself for her talent, which we find here. All songs are his except "Yesterdays" the famous theme of Jerome Kern and another couple of standards, which the singer has provided texts. After a "Cherry Blossom" with a captivating thirties arrangement, they follow the lullaby ballad "Lullaby of the Orient" by Duke Jordan, the first of two arrangements by John McNeil and still "I Should not Tell You" where the intense emerge Stephen Riley's websterian tenor sax and the spirited Knuffke.

Everything flows to the end with a good balance between the vocal and the instrumental dimensions, with interventions always sought after and attentive to melodic values. Translate by Google ~ Angelo Leonardi https://www.allaboutjazz.com/cities-between-us-allegra-levy-steeplechase-records-review-by-angelo-leonardi.php

Personnel: Allegra Levy: vocals; Kirk Knuffke: cornet; Stephen Riley: tenor saxophone; Carmen Staaf: piano; Jay Anderson: bass; Billy Drummond: drums.

Cities Between Us

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Ray Conniff - I Write The Songs

Styles: Vocal
Year: 1976
File: MP3@320K/s
Time: 32:55
Size: 76,8 MB
Art: Front

(2:51)  1. Begin The Beguine
(3:20)  2. My Little Town
(5:45)  3. The Hustle/I Only Have Eyes For You
(4:17)  4. Lyin' Eyes
(3:47)  5. Lara's Theme From "Doctor Zhivago"
(2:48)  6. The Way I Want To Touch You
(3:37)  7. Paloma Blanca - Single Version
(2:42)  8. Our Day Will Come
(3:44)  9. I Write The Songs

The kitsch enthusiast or novelty seeker will get a kick out of Ray Conniff's 1976 album I Write the Songs. Known primarily for orchestral versions of contemporary pop songs, his recordings during the late 1960s and early 1970s by himself and as Ray Conniff and the Singers included many straightforward recordings of current pop hits. 

This collection, sans singers, includes songs by Cole Porter, the Eagles, Captain & Tennille, Four Seasons, Barry Manilow, and an awesome medley of the Soul City Symphony's "The Hustle" and "I Only Have Eyes for You"! This fun easy listening album has great track listing. A cheerful artifact of the early 1970s. If you are going to revisit the Ray Conniff catalog, vinyl LP or 8-track is highly recommended. ~ GT Griffith https://www.allmusic.com/album/i-write-the-songs-mw0001018265

I Write The Songs

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Tadd Dameron - The Compositions Of Tadd Dameron

Styles: Bop, Post Bop, Hard Bop, Cool Jazz 
Year: 2011
File: MP3@320K/s
Time: 42:15
Size: 98,0 MB
Art: Front

(4:09)  1. Fontainebleau
(3:10)  2. The Dream Is You
(6:30)  3. If You Could See Me Now
(7:42)  4. Good Bait
(5:13)  5. Smooth As The Wind
(4:43)  6. Our Delight
(4:09)  7. Hot House
(6:36)  8. Lady Bird

The definitive arranger/composer of the bop era, Tadd Dameron wrote such standards as "Good Bait," "Our Delight," "Hot House," "Lady Bird," and "If You Could See Me Now." Not only did he write melody lines, but full arrangements, and he was an influential force from the mid-'40s on even though he never financially prospered. Dameron started out in the swing era touring with the Zack Whyte and Blanche Calloway bands, he wrote for Vido Musso in New York and most importantly, contributed arrangements for Harlan Leonard's Kansas City Orchestra, some of which were recorded. Soon Dameron was writing charts for such bands as Jimmie Lunceford, Count Basie, Billy Eckstine, and Dizzy Gillespie (1945-1947) in addition to Sarah Vaughan. Dameron was always very modest about his own piano playing but he did gig with Babs Gonzales' Three Bips & a Bop in 1947 and led a sextet featuring Fats Navarro (and later Miles Davis) at the Royal Roost during 1948-1949. Dameron co-led a group with Davis at the 1949 Paris Jazz Festival, stayed in Europe for a few months (writing for Ted Heath), and then returned to New York. He wrote for Artie Shaw's last orchestra that year, played and arranged R&B for Bull Moose Jackson (1951-1952) and in 1953 led a nonet featuring Clifford Brown and Philly Joe Jones. Drug problems, however, started to get in the way of his music. After recording a couple of albums (including 1958's Mating Call with John Coltrane) he spent much of 1959-1961 in jail. After he was released, Dameron wrote for Sonny Stitt, Blue Mitchell, Milt Jackson, Benny Goodman and his last record but was less active in the years before his death from cancer. Tadd Dameron's classic Blue Note recordings of 1947-48, his 1949 Capitol sides and Prestige/Riverside sets of 1953, 1956, 1958, and 1962 are all currently in print on CD. ~ Scott Yanow https://www.allmusic.com/artist/tadd-dameron-mn0000016759/biography

Personnel:  Arranged By, Conductor [Orchestra] – Tadd Dameron; Vibraphone [Soloist] – Milt Jackson; Bass – Larry Gales, Sam Jones, Buddy Clark; Drums – Ben Riley, Jimmy Cobb, Mel Lewis; Piano – Junior Mance, Bobby Timmons, Bill Evans, Jimmy Rowles; Tenor Saxophone – Eddie "Lockjaw" Davis, Johnny Griffin; Trumpet [Soloist] – Blue Mitchell, Jack Sheldon; Vibraphone – Dave Pike: Bass Clarinet – Herbie Mann; Bass Clarinet – Herbie Mann;

The Compositions Of Tadd Dameron

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Dusko Goykovich - RE:BOP

Styles: Trumpet Jazz
Year: 2018
File: MP3@320K/s
Time: 70:02
Size: 161,2 MB
Art: Front

( 9:29)  1. My Secret Love
(11:26)  2. Bei Dir war es immer so schön
( 8:51)  3. It's You or No One
( 7:16)  4. Not so Long Ago
( 9:13)  5. Back Beat Blues
( 9:00)  6. Autumn Leaves
( 8:15)  7. Rebop
( 6:28)  8. Misty

This is not a “late work” but rather a captivating proof of maturity, looking back at a career of six and a half decades. These recordings were made at Jazzclub Birdland in the beautiful Renaissance city of Neuburg on September 15th and 16th, 2017. A place that Dusko Goykovich has been connected with through his long friendship with Manfred Rehm. https://www.jazzmessengers.com/en/79172/dusko-goykovich/re-bop

Personnel:  Dusko Goykovich, trumpet, flugelhorn; Jesse Davis, alto saxophone; Edgardo 'Dado' Moroni, piano; Mads Vinding, bass, Alvin Queen, drums

RE:BOP

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Dick Oatts - South Paw

Styles: Saxophone Jazz 
Year: 2001
File: MP3@320K/s
Time: 63:44
Size: 147,0 MB
Art: Front

(7:59)  1. King Henry
(7:23)  2. One for Jack
(8:45)  3. Reconcile
(7:29)  4. Raised nine ball
(8:39)  5. South paw
(8:00)  6. Totomlane
(9:17)  7. What's new
(6:06)  8. Barbarian

Dick Oatts' fourth SteepleChase outing is wholly original, save for an unusual, vamp-based reading of "What's New" that winds up sounding a little like "Bemsha Swing." Joining the saxophonist are his regular rhythm mates, bassist Dave Santoro and drummer James Oblon, along with trumpeter Joe Magnarelli, who proves to be a stirring presence throughout. In this sparse and harmonically suggestive environment one really gets to soak in the wonderful timbre of the horns although pianist Harold Danko makes three strong guest appearances, adding variety to the session. Highlights include the placid and melodic waltz "Reconcile," the challenging, up-tempo "Raised Nine Ball," and the lightly bouncing, unorthodox title track. Oatts plays alto sax almost exclusively, recalling at times the silky, rich tones of Lee Konitz and Paul Desmond; he switches to tenor for the closing "Barbarian," a tricky, ever-modulating blues. ~ David R.Adler https://www.allmusic.com/album/south-paw-mw0001250092

Personnel:  Alto Saxophone, Tenor Saxophone – Dick Oatts; Bass – Dave Santoro; Drums – James Oblon; Piano – Harold Danko; Trumpet – Joe Magnarelli

South Paw

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Red Mitchell, Guido Manusardi - Formidouble!!! Live in April 1974 at Guldhatten Club in Stockholm

Styles: Post Bop, Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 60:03
Size: 138,5 MB
Art: Front

( 9:55)  1. Spanish Meeting
( 9:58)  2. Country Dance
( 5:54)  3. So What
( 6:43)  4. Oleo
( 6:03)  5. God Bless the Child
(12:08)  6. Jacol Tambalelor
( 9:19)  7. My Romance

He did well and the Splasc (h) to document a splendid Scandinavian concert of '74, held by the Italian-American duo Guido Manusardi - Red Mitchell. Formidouble is the result of an artistic association of rare elegance and sobriety, cemented by a close relationship of friendship between the two musicians, both moved to northern Europe around the mid-70s.Quintessence of jazz, swing is an apparently easy way that only a few manage to raise to perfection, as a basis of creative and improvitive vigor. This category includes both the Italian pianist and the American bass player, who, from the height of a balanced speech, make simple and simple what is not.Consider, for example, the daring harmonies of the two themes ("Country Dance", "Jacol tambalelor") signed by the Romanian contrabbassist Johnny Raducanu, re-evoked with an admirable hint of tones and still the swinging, extrovert version of "My Romance", all conducted on average times. Faced with a proof of capital and high artistic quality, it is difficult to highlight the best moments of the album. It will be limited to (re) emphasize the duo the encyclopedic mastery of all jazz styles, as a starting point for creatively re-harmonizing the standards. In some episodes human understanding translates into the extemporaneous choice of themes, on which the pianist often works tasty melodic digressions between jazz matrix and folclorical repertoire, however embellished by Mitchell thanks to a masterful use of the bow tuned to fifths.~ AAJ Italy Staff https://www.allaboutjazz.com/formidouble-guido-manusardi-splasch-records-review-by-aaji-staff.php

Personnel: Guido Manusardi (piano); Red Mitchell (double bass)

Formidouble!!! Live in April 1974 at Guldhatten Club in Stockholm

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Chu Berry - Berry Story 1936-1939

Styles: Jazz, Big Band
Year: 1990
File: MP3@320K/s
Time: 68:16
Size: 160,8 MB
Art: Front

(3:05)  1. I Hope Gabriel Likes My Music
(2:59)  2. Now You'Re Talking Mylanguage
(2:50)  3. Indiana
(2:57)  4. Too Marvelous For Words
(2:56)  5. Limehouse Blues
(2:21)  6. Chuberry Jam
(2:51)  7. Maelstrom
(2:54)  8. My Secrret Love Affair
(2:49)  9. Ebb-Tide
(2:51) 10. Annie Laurie
(2:33) 11. Loch Lomond
(2:43) 12. In The Land Of Yamo Yamo
(3:53) 13. Body And Soul
(2:14) 14. Sittin' In
(3:56) 15. Stardust
(2:32) 16. Forty Six West Fifty Two
(2:27) 17. Downright Disgusted Blues
(2:14) 18. Corrine Corrini
(2:50) 19. Jumpy Nerves
(2:17) 20. Casey Jones
(3:01) 21. Sweethearts On Parade
(3:07) 22. Shufflin' At Hollywood
(3:17) 23. Denisson Swing
(2:25) 24. Wizzin' The Wizz

This import covers Chu Berry's initial foray into solo territory. Cut between 1936-1939, the 24 cuts find the tenor saxophone luminary in the stellar company of trumpeters Roy Eldridge and Hot Lips Page, the irrepressible trombonist Keg Johnson, pianist Jess Stacey, and drummer Cozy Cole. Lionel Hampton and Benny Goodman also contribute to the party, but in cameo roles. Of particular note are the sides Berry recorded with Eldridge from 1938: it's a set that ranges from rambunctious swingers ("Forty Six, West Fifty Two") to glowing ballads ("Stardust"), all the while showing off Berry's full tone and agile phrasing on a variety of tempi. The mix continues apace with blues, proto-bop workouts, and some nice vocals featuring Page in a gruff and whiskey-soaked mood. Along with Commodore's Memorial disc, this collection makes for a welcome addition to the sparse Chu Berry catalog. ~ Stephen Cook https://www.allmusic.com/album/chu-berry-story-mw0000664516

Berry Story 1936-1939

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Bobby Enriquez - The Prodigious Piano Of Bobby Enriquez

Styles: Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 66:51
Size: 153,2 MB
Art: Front

( 9:16)  1. Spain
( 6:17)  2. Just The Way
( 5:34)  3. Boplicity
( 5:29)  4. Pete Kelley's Blues
( 5:59)  5. Hi-Fly
( 7:17)  6. Willow Weep
( 5:37)  7. There'll
( 6:46)  8. Bobby's Dream
( 3:58)  9. Yesterdays
(10:33) 10. Night In Tunisia--Tonga

Bobby Enriquez was a technically gifted pianist who could play very explosive versions of standards. On this excellent set with bassist Abraham Laboriel, drummer Alex Acuna and percussionist Poncho Sanchez, Enriquez brings a lot of personality and witty ideas to such tunes as "This Masquerade," "Billie's Bounce," "Senor Blues" and "Cherokee." An excellent example of Enriquez's talents. ~ Scott Yanow https://www.allmusic.com/album/the-prodigious-piano-of-bobby-enriquez-mw0000274535

Personnel: Piano – Bobby Enriquez; Bass – John Pena, Richard Reid; Drums – Alex Acuña.

The Prodigious Piano Of Bobby Enriquez

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Nancy Wilson - Dearly Beloved

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 33:08
Size: 76,5 MB
Art: Front

(2:37)  1. You'd Be So Nice To Come Home To
(3:43)  2. Did I Remember
(2:53)  3. The Second Time Around
(2:50)  4. Wild Is The Wind
(2:30)  5. Almost In Your Arms
(2:56)  6. When Did You Leave Heaven?
(2:44)  7. I'll Never Stop Loving You
(2:13)  8. Dearly Beloved
(3:04)  9. Secret Love
(2:07) 10. Moon River
(3:27) 11. Days Of Wine And Roses
(1:57) 12. My Shining Hour

Diva Nancy Wilson was among contemporary music's most stylish and sultry vocalists; while often crossing over into the pop and R&B markets and even hosting her own television variety program she remained best known as a jazz performer, renowned for her work alongside figures including Cannonball Adderley and George Shearing. Born February 20, 1937, in Chillicothe, Ohio, Wilson first attracted notice performing the club circuit in nearby Columbus; she quickly earned a growing reputation among jazz players and fans, and she was recording regularly by the late '50s, eventually signing to Capitol and issuing LPs including 1959's Like in Love and Nancy Wilson with Billy May's Orchestra. Her dates with Shearing, including 1960's The Swingin's Mutual, solidified her standing as a talent on the rise, and her subsequent work with Adderley arguably her finest recordings further cemented her growing fame and reputation. In the years to follow, however, Wilson often moved away from jazz, much to the chagrin of purists; she made numerous albums, many of them properly categorized as pop and R&B outings, and toured extensively, appearing with everyone from Nat King Cole and Sarah Vaughan to Ruth Brown and LaVern Baker. She even hosted her own Emmy-winning variety series for NBC, The Nancy Wilson Show, and was a frequent guest performer on other programs; hits of the period included "Tell Me the Truth," "How Glad I Am," "Peace of Mind," and "Now, I'm a Woman." Regardless of how far afield she traveled, Wilson always maintained her connections to the jazz world, and in the '80s, she returned to the music with a vengeance, working closely with performers including Hank Jones, Art Farmer, Ramsey Lewis, and Benny Golson. By the 1990s, she was a favorite among the "new adult contemporary" market, her style ideally suited to the format's penchant for lush, romantic ballads; she also hosted the Jazz Profiles series on National Public Radio. In the early 2000s, Wilson recorded two albums with Ramsey Lewis for Narada (2002's Meant to Be and 2003's Simple Pleasures). Her 2004 album R.S.V.P. (Rare Songs, Very Personal) was a blend of straight-ahead jazz and ballads, similar to her next record, 2006's Turned to Blue, which, like R.S.V.P., used a different instrumentalist for each track. In 2005, Capitol released a three-part series to pay tribute to Wilson's contributions to music in the '50s and '60s: Guess Who I Saw Today: Nancy Wilson Sings Songs of Lost Love, Save Your Love for Me: Nancy Wilson Sings the Great Blues Ballads, and The Great American Songbook. Nancy Wilson died at her home on December 13, 2018 after a long illness. ~ Jason Ankeny https://www.allmusic.com/artist/nancy-wilson-mn0000368367/biography

Dearly Beloved

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McCoy Tyner - Atlantis

Styles: Piano Jazz
Year: 1974
File: MP3@320K/s
Time: 71:45
Size: 165,0 MB
Art: Front

(17:56)  1. Atlantis
( 5:34)  2. In A Sentimental Mood
(13:02)  3. Makin' Out
( 9:56)  4. My One And Only Love
( 9:18)  5. Pursuit
(15:56)  6. Love Samba

This is the single-CD reissue of all of the music from a former two-LP set. Pianist McCoy Tyner's 1974 quintet consisted of the talented youngster Azar Lawrence on tenor and soprano, bassist Joony Booth, drummer Wilby Fletcher and percussionist Guilherme Franco. As is accurately stated in the new liner notes by Neil Tesser, Atlantis was the final recording from Tyner's last band to be based on the music of his former boss, John Coltrane. While Lawrence (who was only 20 at the time) derived his style partly from aspects of Coltrane and the rhythm section is fiery, Tyner creates some very powerful and highly original solos, really tearing into some of the more extended pieces. Recorded live at San Francisco's legendary Keystone Korner, this set has four of Tyner's modal originals played by the full group, a rendition of "My One and Only Love" performed by the leader, Lawrence and Franco as a trio, and a solo piano version of "In a Sentimental Mood." Essential music that still sounds fresh and adventurous. ~ Scott Yanow https://www.allmusic.com/album/atlantis-mw0000263803

Personnel:  McCoy Tyner: piano, percussion; Azar Lawrence: tenor saxophone, soprano saxophone; Joony Booth: bass; Wilby Fletcher: drums; Guilherme Franco: percussion

Atlantis

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Vic Juris, Dick Oatts, Jay Anderson, Jeff Hirshfield - Remembering Eric Dolphy

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 60:49
Size: 140,0 MB
Art: Front

(4:41)  1. Miss Ann
(7:51)  2. Vaults
(5:56)  3. Latin's Lamp
(7:24)  4. Emphasizing Eric
(7:19)  5. Tone Rose
(5:29)  6. South St. Exit
(6:33)  7. Something Sweet, Something Tender
(7:35)  8. He Me
(4:12)  9. Gentle
(3:44) 10. Out There

As a significant statement of its own by guitarist Vic Juris and his sympathetic ensemble, Remembering Eric Dolphy is an undeniable success. As the tribute affair its title suggests it proves to be far more illusive. For one thing, out of the ten selections only four happen to be Dolphy originals, while the rest are new compositions by Juris and reedman Dick Oatts. Although you can interpret the next point in two ways, it seems that the instrumentation is a bit unusual in that Dolphy never recorded with a guitarist. Still, Juris’ gumption for tackling this project and doing so in such an idiosyncratic manner is nothing to sneeze at. All of the foregoing aside, Juris’ writing is exceptionally strong throughout, touching on many moods. The catchiest of the lot are “Latin’s Lamp” and “He Me,” with the former not unlike Berlin’s “Remember” (is there some connection there to the album’s title?) and the latter making leaps towards some “giant steps” before changing directions. As for the Dolphy tunes, “South St. Exit” is probably the most unforgettable due to Oatt’s flute work and one ends up wishing his burnished tone on that instrument was heard from more than just on this one track. Juris’ guitar sound is strikingly similar to that of John Abercrombie. He arrives at a processed tone that on more than one occasion puts me in mind of such Abercrombie ECM sides as “Getting There” and “Current Events.” As for the rest of the crew, hats off to Oatts for not attempting to imitate Dolphy in any way and accolades to bassist Jay Anderson and drummer Jeff Hirshfield for being so responsive to the character of each composition. So once again, I’m not sure how well this works as a Dolphy homage but I am sure that this is one of Juris’ best records to date. ~ C.Andrew Hovan https://www.allaboutjazz.com/remembering-eric-dolphy-vic-juris-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Vic Juris- guitar; Dick Oatts- alto & soprano sax and flute; Jay Anderson- bass; Jeff Hirshfield- drums

Remembering Eric Dolphy

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The Bob Brough Quartet - Time Away

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 49:18
Size: 114,4 MB
Art: Front

(7:28)  1. Traneian Blue
(5:58)  2. Entity
(7:09)  3. Basketball
(5:59)  4. Time Away
(5:42)  5. Winter Waltz
(4:55)  6. Dear Benjamin
(8:19)  7. Light Chasers
(3:44)  8. Blue Pickup

Bob Brough was hot, hot, hot back in 1982, with the trio Timewarp, on the CD Time Warp when it was given a Juno nomination. And Bob was hot, hot, hot back in 2003 with Richard Underhill's Quintet on the CD Tales from the Blue Lounge, when Richard’s CD won a Juno-award. Now, in 2008 Bob is hot, hot, hot following a 3-year-long adventure with the most recent version of The Bob Brough Quartet which has culminated in the release of a new CD, Time Away, celebrated officially at the Rex Jazz and Blues Bar on November 7, 2008. At the CD-release engagement, Bob Brough on tenor saxophone, Adrean Farrugia on piano, Artie Roth on bass, and Terry Clarke on drums, played two rousing sets comprised of jazz standards and original compositions by Bob or Adrean. Impeccable cohesiveness was the order of the evening as the 4 dynamic musicians moved as one through incredibly speedy and difficult improvised passages. The Quartet ended the evening with an audience calling for more and none the least unaware of the unstoppable nature of the energy in this fiery ensemble; nor of the up-beat determination of Bob Brough. Born in 1948 in Toronto, at 14 Bob was handed a baritone saxophone, his first musical instrument, in high school. Within days, his artistic vision was born “to make music and be heard.” Bob is “The Senator” of Globe & Mail jazz critic Mark Miller's book Boogie, Pete, and The Senator, published by Nightwood Editions in 1987. https://musicians.allaboutjazz.com/bobbrough

Personnel:  Bob Brough on saxophone;  Artie Roth on bass;  Terry Clarke on drums;  Adrean Farrugia on piano

Time Away

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Monika Ryan - Changes

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 57:56
Size: 134,2 MB
Art: Front

(3:31)  1. Don't Look Back
(7:13)  2. Something in My Craw
(2:20)  3. It's Simple
(7:16)  4. Not Always Fair
(4:00)  5. Bye Bye, Haters Bye Bye
(6:47)  6. I’m Thankful for You
(2:44)  7. Friendship
(4:52)  8. Better World
(3:48)  9. Equals
(4:55) 10. Slow Down
(2:44) 11. The Importance of Failure
(4:26) 12. Introspection
(3:14) 13. You Are Not You

Jazz vocalist Monika Ryan, started singing professionally at the age of 15 and had management by 16, working around New York City and under mentorship of musicians like Houston Person. With his recommendation, she applied and entered the world renowned New School for Jazz and Contemporary Music in Manhattan, where she further honed her craft studying with Jackie Paris, Sheila Jordan, Buster Williams, Reggie Workman, Chico Hamilton, Charli Persip, Junior Mance, Arnie Lawrence, and many other jazz luminaries. At 18 years old Monika started singing with Charli Persip’s big band, “Precipitation,” and working at nightclubs and concert halls around New York. Through these concerts, she met and started working at premier clubs and venues in New York City with other greats, such as Al Grey, Gene Bertoncini, and Larry Ham. At 23, Monika was hired by Carnegie Hall to perform for 2 seasons of its “Neighborhood Concert Series.” During that time she recorded in Carnegie Hall’s studio with legendary guitar player Gene Bertoncini and Carnegie Hall studio engineer, Leszek Wojcik. In 2000, she produced her first solo recording of all original material, “Love.” The album met with critical acclaim and brought her to the Montreal Jazz Festival. A year later, she followed up with her second album, “Duo,” a collection of standards and original material with guitarist Satoshi Inoue, and then toured Japan with Jon Faddis, David Hazeltine, Satoshi Inoue, Akira Tana and Kiyoshi Kitagawa as part of The Big Apple In Nonoichi Jazz Festival. A year later, she returned to Japan to tour with James Williams, John Lockwood, Bill Pierce, Satoshi Inoue, and Tony Reedus. In 2014, Monika released her third recording, “Involution." An eclectic and original collection of songs across a variety of genres, "Involution" is a meditation on the cycle of expansion and contraction in all things.In 2016, Monika completed a largely improvised jazz album with pianist Chris White, titled “Sketches.” She followed “Sketches” with "Fly,” a modern pop/jazz concept piece that aims to take listeners on an intelligent journey, exploring the life of aviation pioneer, Charles Lindbergh. Also in 2016 Monika recorded “Merry,” a holiday album, and "Crash," music published in 1929 both recorded with guitarist, David O’Rourke. 

Crash was released in 2017. “Windmills,” a tribute to the legendary lyricists, Alan and Marilyn Bergman, was recorded and mixed in the Fall of 2016 released in 2017 with Keith Loftis/sax, Brad Goode/tp, Clark Gayton/tb, Nick Rolfe/key, David O’Rourke/g, Rene Hart/b, and Alvester Garnett/dr. A 2018 Global Music Award winner and also awarded Best Vocal Jazz Album from the 2018 Clouzine Awards, All About Jazz writes, “As tribute albums go, Monika Ryan’s Windmills is a homage project that the Bergman’s should be proud of. Classical love songs voiced by a superior singer and backed by a top-notch cast of players, makes this vocal jazz album, a must for those who appreciate the genre.” Monika followed “Windmills” with “Now,” a collection of original, contemporary Jazz and Folk songs inspired by current events. “Now” was recorded and mixed in early 2017 and released in February, 2018. The album won two Global Music Awards, one for “Female Vocalist Honoree” and another for the protest song, "This Land." Her latest album, “Changes,” released during the Summer of 2018, is a collection of songs written with humor, wit, and modern sensibilities, as well as steeped in deep jazz roots. Monika is writing material for her eleventh studio album, which will be recorded and released in 2019. In the meantime, check out Monika live at one of her upcoming performances. http://www.monikaryan.com/bio/

Changes

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